R.  EDERHEIMER  PRINT  CABINET 

366  Fifth  Avenue  New  York 

Special  Catalogue  No.  3 

jUartm  ikfjonpuer 

1445-1401 


«.  103 

Sljr  (float  of  Anna  of      jfamtly  van  Valotngrr 


AN  EXHIBITION  OF  ENGRAVINGS  BY  THE  MASTER 
TO  BE  HELD  AT  THE  ADJOINING  GALLERIES  OF 

0lx.     Cberfjetmer  anb 

366  Fifth  Avenue,  New  York 
December  1911 


Ikscripttbe  Catalogue 

OF  AN 

Exhibition  of  Engravings 


BY 


Jfflarttn 
g>d)ong;atier 

WITH  AN  INTRODUCTION  BY 

(Eberljeimet 


To  be  begun  Wednesday  the  Sixth  of  December, 
and  to  last  until  the  end  of  the  month. 

NO.  366  FIFTH  AVENUE 


NEW  YORK 


COPIES  OF  THIS  CATALOGUE 
SEVENTY-FIVE  CENTS 


ARRANGED  AND  PRINTED 
AT  THE  GOERCK  ART  PRESS 
925  SIXTH  AVE.,  NEW  YORK 


Digitized  by  the  Internet  Archive 
in  2015 


https://archive.org/details/descriptivecatalOOscho 


THE  VIRGIN  RECEIVING  THE  No.  2  of  Catalogue 

ANNUNCIATION 


;f£z_: 

1!  _  ->c^^ 

INTRODUCTION 


HREE  years  ago,  after  my  exhibition 
of  engravings  of  Lucas  van  Leyden, 
(a  great  artist  presented  for  the 
first  time  in  America  in  such  a  col- 
lective display)  the  dean  of  dealers 
of  engravings  in  this  country,  asked 
me  smilingly,  "Now  I  wonder  which 
of  us  is  going  to  hold  the  first  Schon- 
gauer  exhibition  in  this  city?" 


Ever  since  that  day  this  ambition 
has  never  left  my  mind,  and  in  the 
meantime  I  have  had  the  opportun- 
ity of  realizing  the  difficulty  of  the 
task.  For  a  while  the  meagre  results  of  extended  search  in  various 
art  centers  of  Europe  led  to  the  belief  that  a  worthily  representa- 
tive exhibition  of  Schongauer  was  very  nearly  impossible  of 
achievement,  so  rare  are  his  great  plates,  and  so  hard  to  find 
even  the  lesser  ones.  This  summer,  however,  renewed  search  was 
rewarded  by  better  fortune,  and  I  have  the  pleasure  of  now  pre- 
senting, in  the  adjoining  galleries  of  Mr.  George  S.  Hellman 
and  my  own,  45  prints  of  Martin  Schongauer,  including  most  of 
the  important  works  of  the  first  great  master  of  engraving  in 
the  1 5th  century.  Among  the  prints  here  shown  are  some  which 
the  collector  must  be  glad  to  have,  even  if  they  are  not  in  quite 
that  perfect  condition  which  he  does  well  to  insist  upon  in  pur- 
chasing the  works  of  great  artists  whose  engravings  are  more 

3 


easily  obtainable.  A  careful  examination  of  the  European 
museums  leads  to  the  conclusion  that  even  those  prints  that 
have  been  somewhat  mended  are  well  up  to  the  average  that 
can  now  be  obtained  abroad,  when  a  collector  is  lucky  enough  to 
find  them  at  all,  and  the  beauty  and  rarity  of  these  pictures  in 
these  instances  are  ample  compensation  for  what  they  may  lack 
in  a  few  technical  points.  But  if  we  can  speak  with  such  con- 
viction of  what  may  be  termed  the  lesser  creatures  among  these 
"rara  aves"  what  shall  we  say  of  many  of  the  very  greatest 
plates  of  Schongauer  here  included  in  the  very  finest  states? 
"Christ  Carrying  the  Cross"  and  "St.  James,  assisting  the  Chris- 
tian Army  against  the  Saracens,"  are  only  two  of  the  very  rarest 
and  most  important  plates  in  the  history  of  engraving  which 
can  be  here  obtained  in  the  very  finest  condition.  Years  may 
pass  by  before  such  prints  can  again  be  acquired  in  such  states. 

Let  it  be  admitted  that  such  a  collection  of  Schongauer 
could  hardly  have  been  brought  together  without  a  little  good 
luck,  which  in  my  case  took  the  form  of  meeting  by  a  mere 
chance,  last  summer  in  Paris,  a  gentleman  well  known  as  one  of 
the  greatest  of  American  collectors  of  rare  engravings.  I  have 
previously  had  the  pleasure  of  disposing  for  him  of  a  considerable 
number  of  great  Diirers,  duplicates  from  his  collection.  It  is  no 
breach  of  confidence  to  name  him — Mr.  Junius  S.  Morgan. 
When  it  may  be  added  that  eleven  of  the  most  notable  engrav- 
ings in  the  present  exhibition,  made  available  through  Mr.  Mor- 
gan's friendly  and  greatly  appreciated  interest  in  the  idea  of  a 
Schongauer  exhibition,  have  been  purchased  by  me  from  his 
private  collection,  further  emphasis  need  hardly  be  laid  on  the 
rare  opportunity  here  afforded  to  American  collectors. 


4 


B.  3  THE  ANNUNCIATION  No  3  of  Catalogue 


Martin  Schongauer 

S  IS  the  fact  with  almost  all  masters 
of  the  15th  century,  very  little  is 
known  about  the  life  of  Schongauer. 
Even  the  dates  of  his  birth  and 
death  are  the  subject  of  much  diver- 
sity of  opinion,  Bartsch  giving  the 
years  1445-1486  or  1499;  Ottley,  1453 
to  1499;  Dr.  A.  v.  Wurzbach,  tries 
in  a  long  article  to  fix  the  date  of 
birth  about  1450  and,  in  another 
essay,  1488  as  the  date  of  Schon- 
gauer's  death.  This  latter  date  is 
based  on  an  entry  in  the  Civil  Reg- 
ister of  Schongauer's  native  city,  Colmar.  But  by  others  it  is 
maintained  that  this  entry  must  have  been  due  to  some  clerical 
error.  Personally  I  prefer  to  accept  the  dates  of  that  great 
authority,  Lippmann,  who  states  the  years  to  be  1445-1491. 

It  is  apparent  that  Schongauer's  artistic  inclinations  were 
strongly  affected  by  the  Dutch  painters  of  the  15th  century, 
especially  Roger  von  der  Weyden  and  his  school.  In  Schon- 
gauer's interpretation  of  his  religious  characters  there  is  that 
deep  and  sincerest  inspiration  such  as  is  seen  in  the  paintings 
of  Fra  Angelico.  His  angels  and  Virgins  are  striking  in  their 
supreme  nobility,  and  it  is  hard  to  imagine  more  dignity  and  fine- 
ness than  in  his  conception  of  Christ.  In  fact  it  is  this  type, 
created  by  Schongauer,  that  has  appeared  again  and  again  in 
the  works  of  Diirer  and  Raphael,  as  in  the  art  of  later  times. 

Especially  notable  is  the  divine  repose  and  attitude  charac- 
teristic of  the  figure  of  Christ  when  appearing  to  Mary  Mag- 
dalen as  a  gardener,  (B.  20).  This  same  type  is  again  met 
with  in  the  representation  of  God  in  the  prints  (B.  70,  71,  72) 
Nos.  38-40  of  this  catalogue.  This  leads  to  the  opinion  that  the 
authorities  may  not  have  used  the  right  titles  for  these  engrav- 

5 


ings,  which,  however,  being  once  established,  are  quoted  here 
despite  the  temptation  to  believe  that  Schongauer  intended  to 
represent  Christ  and  not  God  in  these  three  plates.  This  opinion 
is  confirmed  by  the  representation  of  God  in  "The  Annunciation" 
(B.  3)  where  an  absolutely  different  type  is  shown. 

Although  Schongauer  was  one  of  the  first  masters  in  the 
art  of  engraving  and  the  first  German  whose  name  has  come 

down  to  us,  no  later  work  surpasses  his  fine  composition  of 
"Christ  Carrying  the  Cross"  (B.  21).  The  grouping,  landscape, 
and  characterization  combined  with  the  technical  supremacy, 
make  it  no  exaggeration  to  style  this  plate  as  "the  masterpiece 
of  engraving."  A  curious  sense  for  the  grotesque  is  shown  in 
the  famous  engraving  representing  "St.  Anthony  tormented  by 
the  Demons,"  (B.  47)  ;  and  that  the  master  did  not  lack  a  sense 
of  humor  is  proved  in  his  few  subjects  of  everyday  life,  here 
represented  by  the  delightful  little  genre  scene,  "The  Departure 
for  the  Market,"  (B.  88)  a  print  which  seems  to  have  influenced 
Lucas  von  Leyden  in  his  "The  Wandering  Musicians,"  (L*  Es- 
piegle),  (B.  159). 

Although  each  print  of  Schongauer  shows  his  famous  mono- 
gram, none  bears  a  date,  making  it  thus  practically  impossible 
to  illustrate  his  development  by  his  works.  Attempts  along 
this  line  have  been  made  (Wurzbach)  but  as  they  cannot  pos- 
sibly be  supported  by  proofs,  they  have  only  the  interest  of  per- 
sonal suppositions. 

The  descriptive  notes  in  the  following  catalogue  are  based 
on  Ottley.  Care  has  been  exercised  in  describing  the  prints  in 
this  collection  just  as  they  are ;  but,  indeed,  it  is  difficult  to  give 
any  adequate  idea  of  the  charm  and  beauty  of  these  rare  engrav- 
ings, so  ardently  sought  after  by  modern  collectors  and  so  diffi- 
cult to  obtain. 

It  gives  me  pleasure  to  take  this  opportunity  of  expressing 
my  appreciation  to  those  European  dealers  who  have  been  of 
assistance  to  me  in  the  formation  of  this  collection,  and  especially 
to  Mr.  Junius  S.  Morgan  and  Mr.  George  S.  Hellman  for  their 
collaboration. 

RICHARD  EDERHEIMER. 
6 


THE  ADORATION  OF  THE  MAGI 


No.  6  of  Catalogue 


Catalogue 


i    The  Angel  of  the  Annunciation 

Bartsch  i 
Ottley  i 
Wurzbach.77 

He  is  standing  and  turned  towards  the  right.  He 
has  a  sceptre  in  his  left  hand,  and  with  his  right 
appears  giving  the  benediction. 

Fine  early  impression  in  perfect  condition,  slightly 
worn,  on  paper  with  the  water  mark  of  the  Bull's 
head. 


2    The  Virgin  Receiving  the  Annunciation 

B.  2,  O.  2,  W.  78 

The  companion  of  the  last  described.  She  is  stand- 
ing turned  toward  the  left,  where  on  the  ground  is  a 
vase  of  flowers. 

Very  fine  early  impression  in  beautiful  condition, 

with  the  water  mark  of  the  Bull's  head.    From  the 

Theobald  Collection. 
(See  reproduction.) 


7 


3    The  Annunciation 

B.  O.  3,  W.  48 

The  Virgin  is  kneeling  on  the  right,  and  behind  her, 
on  the  left,  is  the  Angel  also  kneeling,  although  in 
consequence  of  the  high  point  of  sight  chosen  by 
the  artist  the  figure  has  somewhat  the  appearance 
of  flying.  A  vase  containing  a  lily  stands  in  the 
foreground  on  the  left,  and  in  the  sky  is  the 
Almighty,  surrounded  by  rays  of  glory. 

One  of  the  most  beautiful  compositions    of  the 
master. 

Very  fine  and  in  good  condition.    From  the  collec- 
tion of  Mr.  J.  S.  Morgan. 
(See  reproduction.) 


4    The  Nativity 

B.  O.  5,  W.  50 

The  Madonna  is  represented  kneeling,  adoring  the 
Infant  Jesus,  who  is  lying  on  the  ground,  behind 
which  are  the  ox  and  the  ass ;  and  in  the  back- 
ground on  the  left  is  seen  Joseph,  accompanied  by 
a  female ;  in  the  sky,  toward  the  left,  are  three 
little  angels,  whose  bodies  terminate  in  the  tails  of 
birds,  holding  a  scroll. 

Good  early  impression  on  paper  with  the  water 
mark  of  the  Gothic  P.  Early  but  too  dark,  in  parts 
almost  looking  like  a  mezzotint. 


8 


B.  7  THE  FLIGHT  INTO  EGYP  T  No.  8  of  Catalogue 


5    The  Same 

Lighter  impression  but  worn. 


6    The  Adoration  of  the  Magi 

B.  O.  6,  W.  5 

The  Madonna  is  seated,  with  the  Infant  on  her  lap, 
on  the  left.  One  of  the  kings  is  on  his  knees  before 
him.  The  two  others  with  the  attendants  are  be- 
hind on  the  right. 

Brilliant  early  impression,  with  numerous  but  very 
clever  repairs.    (See  reproduction.) 


7    The  Same 

Very  fine,  a  little  less  brilliant,  but  with  less  re- 
pairs. From  the  Liphart  and  J.  S.  Morgan  collec- 
tions. 


8    The  Flight  Into  Egypt 

B.  O.  7,  W.  6 

The  ass,  bearing  the  Madonna  with  the  Infant  on 
her  lap,  is  turned  towards  the  right.  Behind  on 
the  same  side  is  Joseph,  who  is  represented  pulling 
down  and  gathering  dates  from  a  palm  tree ;  as- 


9 


sisted  in  the  operation  by  five  little  angels.  The 
design  is  upon  whole  an  extremely  beautiful  one, 
although  the  ass  is  too  small  for  his  load. 

Unusually  strong  and  brilliant  impression. 
(See  reproduction.) 

9    The  Same 

Less  strong  but  very  fine,  on  paper  with  the  Gothic 
P.    From  the  J.  S.  Morgan  Collection. 

10-21  The  Passion  of  Christ 

B.  O.  9  to  20 
W.  12  to  23 

A  set  of  twelve  prints.    As  a  complete  set  of  the 
greatest  rarity. 

The  impressions  are  early  and  uniform  and  aside 
from  a  few  repairs  of  great  brilliancy. 

10  Christ  Praying  on  the  Mount  of  Olives 

B.  O.  9,  W.  12 

Strong  and  early  impression,  paper  with  the  water 
mark  of  the  Bull's  head.  Repaired  at  the  lower 
right. 

11  Christ  Taken  in  the  Garden 

B.  10,  O.  10,  W.  13 


10 


B.  18 


THE  ENTOMBMENT  OF  CHRIST  No.  19  of  Catalogue 

(FROM  THE  PASSION) 


Very  fine  and  early  impression.  Water  mark  of 
the  Bull's  head. 


12  Christ  brought  before  the  High  Priest 

B.  O.  ii,  W.  14 

Very  fine,  on  paper  with  the  Gothic  P. 

13  The  Flagellation 

B.  O.  12,  W.  15 

Very  fine. 


14    Christ  Crowned  with  Thorns. 

B.  O.  13,  W.  16 

Very    early.     Thin    in    spots,    apparently  once 
mounted. 


15  Christ  Before  Pilate,  Who  Is  Represented  Washing  His 

Hands 

B.  O.  14,  W.  17 

Very  fine  impression. 

16  Christ  Presented  to  the  People 

B.  O.  15,  W.  18 

Very  fine,  on  paper  with  the  Gothic  P. 

17  Christ  Bearing  the  Cross 

B.  O.  16,  W.  19 

Good  impression,  a  little  worn. 

11 


1 8    The  Crucifixion 

B.  O.  17,  W.  20 

Very  fine  impression  on  paper  with  the  water  mark 
of  the  Bull's  head. 


19  The  Entombment  of  Christ 

B.  O.  18,  W.  21 

Very  fine  impression. 
(See  reproduction.) 

20  Christ's  Descent  Into  Limbo 

B.  O.  19,  W.  22 

Impression  of  great  brilliancy,  on  paper  with  the 
water  mark  of  the  Bull's  head. 


21  The  Resurrection  of  Christ 

Good  impression  with  little  margin. 

22-23  Duplicates  from  the  Passion  Set 

22  Christ  in  the  Garden 

Good  later  impression. 

23  Christ  Crowned  with  Thorns 

Very  beautiful  impression. 

12 


B.  O.  20,  W.  23 


B.  O.  9,  W.  12 


B.  O.  13,  W.  16 


B.  25 


CHRIST  ON  THE  CROSS 


No.  25  of  Catalogue 


24    Christ  Bearing  the  Cross 

B.  O.  21,  W.  24 

This  piece  which  contains  upwards  of  thirty  fig- 
ures, merits  perhaps  to  be  considered  upon  the 
whole  as  the  artist's  most  capital  production. 


"THE  MASTERPIECE  OF  ENGRAVING," 
OF  EXTREME  RARITY. 

Most  brilliant  impression,  in  beautiful  condition. 
From  the  collection  of  Mr.  J.  S.  Morgan.  (See  re- 
production.) 


25    Christ  on  the  Cross 

B.  O.  25,  W.  10 

The  Madonna  stands  at  the  left  and  St.  John  at 
the  right;  above  are  three  angels  with  chalices, 
catching  the  blood  that  drops  from  the  side  and 
hands  of  Christ. 

Extremely  fine  impression  in  superb  condition. 
Paper  with  the  water  mark  of  the  Bull's  head. 
From  the  collections  of  Boehm,  Baron  Festetics 
and  Theobald.     (See  reproduction.) 


26    Christ  Appearing  to  Mary  Magdalen 

B.  O.  26,  W.  52. 

One  of  the  most  beautiful  compositions.  There  is 
hardly  any  picture  of  Christ  known,  showing  as 
much  repose  and  grandeur  of  conception.  Good 
impression,  a  little  worn. 


13 


27    The  Madonna  Standing,  and  Seen  in  Front,  with  the 
Infant  in  Her  Arms. 

B.  O.  28,  W.  65 

Very  beautiful  impression  of  the  charming  engrav- 
ing, cut  in  the  white  paper,  with  the  water  mark 
of  the  Gothic  P. 


28  The  Death  of  the  Virgin 

B.  O.  33,  W.  49 

The  Virgin  is  represented  in  a  bed  covered  with  a 
canopy.  She  is  surrounded  by  several  apostles, 
one  of  which  is  handing  her  a  candle ;  two  others 
are  on  their  knees  praying  in  front  at  the  left. 

One  of  the  most  capital  productions.  Very  beau- 
tiful early  impression,  a  little  too  dark,  cleverly  re- 
paired.   From  the  collection  of  Count  Enzenberg. 

29  St.  Thomas,  the  Apostle 

B.  O.  44,  W.  36 

Good  early  impression  from  the  Arozarena  Collection. 

30.    The  Same. 

From  the  collection  of  Mr.  J.  S.  Morgan. 

31    St.  Anthony,  Tormented  in  the  Air  by  Devils 

B.  O.  47,  W.  9 

This  piece  is  one  of  the  most  interesting  of  Schon- 
gauer's  productions,  being  the  same  which  Michel- 
angelo copied  with  great  diligence  in  colors  when 
a  youth.    Capital  plate. 


14 


B.  47 


ST.  ANTHONY  TORMENTED  BY  DEMON'S 


No.  31  of  Catalogue 


Very  fine  impression  from  the  Berlin  Museum  and 
von  Nagler  Collections.  Very  cleverly  repaired  in 
the  upper  part,  on  paper  with  the  water  mark  of  the 
Bull's  head. 


32  The  Same 

Superb  impression  from  the  J.  S.  Morgan  Collec- 
tion. Slightly  cut  on  the  side  and  top.  (See  re- 
production.) 

33  St.  Christopher,  Carrying  the  Infant  Christ  Across  the 

River. 

B.  O.  48,  W.  66 

Superb  early  impression.  The  upper  part  has  once 
been  cut  out  and  the  white  paper  is  almost  invis- 
ibly restored.  A  splendid  example  of  the  clever- 
ness of  print  repairing. 

34  St.  James,  the  Elder,  the  Apostle  and  Patron  Saint  of 

Spain,  Assisting  the  Christian  Army  Against  the 
Saracens 

B.  O.  53,  W.  7 

One  of  Schongauer's  largest  and  most  capital  pro- 
ductions.   Of  extreme  rarity.    Most  splendid  im- 
pression, in  perfect  condition.    From  the  collection 
of  Mr.  J.  S.  Morgan. 
(See  reproduction.) 


15 


35    St.  John  the  Baptist,  with  the  Lamb  of  God  upon  His 
Book 

B.  O.  54,  W.  67 


Good  early  impression  on  paper  with  the  water 
mark  of  the  Bull's  head. 
36    St.  John  the  Evangelist,  Writing  His  Revelations  on  the 
Isle  of  Patmos 

B.  O.  55,  W.  in 

Early  impression  on  paper  with  the  water  mark  of 
the  Gothic  P.    Somewhat  worn. 


37    St.  Michael,  Piercing  the  Dragon,  Which  Is  Under  His 
Feet 

B.  O.  58,  W.  70 

Fine  impression  on  paper  with  the  water  mark  of 
the  Bull's  head. 


38    The  Lord  Seated  on  a  Throne,  Under  a  Canopy  Sup- 
ported by  Two  Angels 

B.  O.  70,  W.  55 

He  has  a  globe  and  sceptre  and  appears  giving  the 
benediction.  Very  fine  impression  on  paper  with 
the  water  mark  of  the  Bull's  head.  From  the  J.  S. 
Morgan  Collection. 


39    The  Madonna  Seated  on  a  Throne,  at  the  Right  Hand  of 
God. 

B.  O.  71,  W.  54 

Behind  the  throne  is  a  group  of  three  angels  in 
adoration. 

Superb  impression  on  paper  with  the  water  mark 
of  the  Gothic  P.    From  the  Prince  Paar  Collection. 


16 


40    God  Crowning  the  Madonna,  Who  Is  on  Her  Knees 
Before  Him 

B.  O.  72,  W.  53 

Most  beautiful  plate,  in  fine  impression  from  the 
Collections  of  Arozarena  and  J.  S.  Morgan. 


41    The  Departure  For  the  Market 

Ottley  calls  this  print:  A  peasant  going  to  join  the 
army,  and  leading  his  horse,  on  which  is  seated  his 
wife  with  her  child  behind  her. 

B.  O.  88,  W.  11 

One  of  the  first  genre  scenes,  of  extreme  rarity. 
Superb  impression  in  extraordinary  fine  condition. 
On  paper  with  the  water  mark  of  the  Bull's  head. 
From  the  J.  S.  Morgan  Collection. 
(See  reproduction.) 


42    The  Same 

Very  good  impression  of  this  rare  engraving,  but 
it  has  been  folded  across  and  cut  at  the  bottom 
so  that  the  monogram  does  not  appear. 
From  the  Louis  Galichon  and  A.  Firnien-Dedot  Col- 
lection. 


43    The  Coat  of  Arms  of  the  House  of  Erbach 

B.  O.  99,  W.  90. 

A  young  lady  standing,  holding  a  rose  in  her  right 
hand  and  an  escutcheon  in  the  left.  Very  scarce, 
good  impression. 


17 


44  The  Coat  of  Arms  of  the  Family  von  Baldinger 

B.  O.  103,  W.  94 

Wild  man  holding  a  club  in  his  right  hand,  and  an 
escutcheon  in  his  left.    Very  rare. 
(See  reproduction  on  cover.) 

Bartsch,  page  174,  No.  15 

45  Piece  falsely  attributed  to  Schongauer,  showing  his 
monogram,  but  apparently  not  made  by  that  mas- 
ter. Three  figures  on  one  plate,  on  the  left  a  young 
woman  standing  in  profile  and  turned  towards  the 
right  talking  and  emphasizing  her  speech  with  her 
hands  to  a  man  who  stands  opposite  to  her  in  pro- 
file. He  has  in  his  hands  some  object  resembling 
the  hilt  of  a  sword  between  the  two  figures  is  an 
old  woman,  who  listens  with  attention  to  the  con- 
versation.   They  all  wear  oriental  turbans. 

46  The  Capture  of  Christ 

Impression  from  the  silver  plate  still  preserved  in 
the  Museum  of  Basle. 


18 


B.  88 


THE  DEPARTURE  FOR  THE  MARKET 


No  41  of  Catalogue 


SLATER  LIBRARY 


^  *  s 


